Hindi
&pictures HD premiere ‘Fitoor’ on 18 June
MUMBAI: &picturesHD constantly strives to offer its audience a distinct and unmatched movie viewing experience. Its unique offering&HD Exclusive showcases carefully handpicked movies for its viewers to provide them with maximum quality entertainment. Continuing with its efforts to bring the cinematic experience to the comfort of households and keeping ZEE’s (Zee Entertainment Enterprises Ltd.) promise of #HDfirst, &picturesHD comes up with the World HD Premiere of ‘Fitoor’ onSaturday, 18th June at 8 PM.
Set in the tranquil locales of Kashmir, Fitoor is a story of love, longing and obsession that transcends time and age. An adaptation of Charles Dickens’ Great Expectations, Fitoor is directed by the endowed filmmaker Abhishek Kapoor and starsAditya Roy Kapur, Katrina Kaif, and Tabu in lead roles with an ensemble cast including Rahul Bhatt, Aditi Rao Hydari and evenAjay Devgn in pivotal roles.
Speaking about the movie, director Abhishek Kapoor commented, “Fitoor is a different film trying to capture a different world. It’s a very fantastical story which needed a certain look, specific kind of sets, and a certain kind of lighting. Kai Po Che was mostly shot on real locations, but here, when you make locations and sets from scratch, it’s an entirely different thing. As a director, I don’t want to repeat myself. The challenge is to be versatile.”
In the mystic corners of a valley, Noor (Aditya Roy Kapur) grows up in the shelter of Begum (Tabu) and is completely smitten by her daughter Firdaus (Katrina Kaif). On realizing this, Begum sends Firdaus off to London and urges Noor to be successful in order to win Firdaus. 15 years later, their paths cross and Noor, a successful artist now, is still mesmerized by Firdaus. But, she is now destined to marry Bilal (Rahul Bhatt) at the whims of Begum.
Will their love overcome societal limits as obsession, like they say will always finds its way.
Hindi
Remembering Gyan Sahay, the lens behind film, television and advertising
From a puppet rabbit selling poppadums to Hindi cinema, he framed it all.
MUMBAI: There are careers, and then there are canvases. Gyan Sahay, the veteran cinematographer, director, and producer who passed away on 10 March 2026 in Mumbai, had one of the latter. Over several decades in the Indian film and television industry, he turned lenses, lights, and the occasional puppet rabbit into something approaching art.
A graduate of the Film and Television Institute of India (FTII) in Pune, Sahay built his reputation as a director of photography across a career that stretched from the early 1970s all the way to the digital age. He was the kind of craftsman who understood that a well-composed shot is not merely a technical achievement but a quiet act of storytelling.
For most Indians of a certain age, however, Sahay will forever be the man behind the rabbit. His direction of the iconic long-running television commercial for Lijjat Papad, featuring its now-legendary puppet bunny, gave the country one of its most cheerfully persistent advertising images. It was the sort of work that sneaks into the national subconscious and takes up permanent residence.
His big-screen credits as cinematographer include Anokhi Pehchan (1972), Pagli (1974), Pas de Deux (1981), and Hum Farishte Nahin (1988). In 1999, he stepped behind a different kind of camera altogether, making his directorial debut with Sar Ankhon Par, a drama that featured Vikas Bhalla and Shruti Ulfat, with a cameo by Shah Rukh Khan for good measure.
On television, Sahay was particularly prized for his command of multi-camera production setups, a skill that made him a go-to technician for large-scale shows and reality programmes. In an industry that has never been especially patient with complexity, he was the calm hand on the rig.
In later life, Sahay turned teacher. He participated regularly in masterclasses and Digi-Talks, often hosted by organisations such as Bharatiya Chitra Sadhna, sharing hard-won wisdom on cinematography, the comedy of timing in a shot, and the sweeping changes brought by the shift from celluloid to digital. He was also said to have been involved in a project concerning a biographical film on Infosys co-founder N.R. Narayana Murthy.
Tributes from the film industry poured in following the news of his passing, with colleagues remembering him as a senior cameraman who served as a rare bridge between two entirely different eras of Indian cinema. That is, perhaps, the finest thing one can say of any craftsman: he kept up, and he brought others along with him.
